Glastonbury 2025 tickets sell out in just 35 minutes
The standard ticket for next year's event was priced at £373.50 ($471.50).
A general view of the crowd listening to ColdPlay perform during day four of Glastonbury Festival 2024 at Worthy Farm, Pilton on June 29, 2024 in Glastonbury, England. (Photo: Getty Images)
By Eastern EyeNov 18, 2024
Tickets for next year's Glastonbury Festival sold out within 35 minutes on Sunday, with more than 200,000 people expected to attend the world-renowned musical celebration in rural southwest England.
Sales opened at 9.00am (0900 GMT) and event organisers posted on the social media platform X at 9.35am that "Tickets for Glastonbury 2025 have now sold out.
"Thanks to everyone who bought one and sorry to those who missed out, on a morning when demand was much higher than supply. There will be a resale of any cancelled or returned tickets in spring 2025," they added.
British-Albanian pop sensation Dua Lipa and indie-rockers Coldplay were among the headliners in 2024, and talks are reportedly already under way to secure acts for next year's festival, which will run from June 25 to 29.
The sight of thousands of tents dotting the fields at Worthy Farm in the village of Pilton has become one of the symbols of British summer since the festival was first held 1970.
Alongside around 3,000 performances set to take place across some 80 stages, the festival also features night-long parties, art installations and lively parades.
The standard ticket for next year's event was priced at £373.50 ($471.50).
Glasto, as the festival is popularly known, was inspired by Britain's 1960s counter culture and hippie movements, with its first iteration as the Pilton Festival in 1970.
Glam rockers T.Rex were the first headliners. Since then, it has attracted cult status and big names from David Bowie and Paul McCartney to Stormzy and Elton John, who last year played his final UK gig.
Organiser Emily Eavis has said the event is set to take a break in 2026 to "give the land a rest". (AFP)
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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